PN 

1996 

.A4 




4° . 

* % 

„ . V •••■*' 

> *« V. % > ** 

o v vK * A V v\. 

i* * * v' ^ ^ 

°* ^ «* v 

0 O ^ - v 






0 




.\ ~ <x * 

ft "* **0 V 

^ o \0 V*. ” 

» V- <**> * 

* >0 ^ % 

<p- 8 ' ■* 

0 V eV> V *"* 


^ 

* ® * ° ° -0 

*' ^ . , v> ♦**<£*% ^ V „ 

p ^ <“v * ^ ,A 

^ *y &. ^ v . „ 

<U *'~?V** <0^ O '*.** A <* 

' V . 0°' °o ^ .••-•• * 




•!<!, 


« o 



® O 

* V V, 
v <£* * 



4 CD 

’* y 5 ' %.^'^‘^ “v^rr,-' y 

v .vi^, c\ <y , * • *. *> v ' 

• ^ .# *i&S& ^ *♦ * 

v i - * ; : * 

•* ^ ^ *» 't <a,' 

*U ’ " aO’ ' • * S * <Cr 'O* 'o . f ' 

^ .^ ** % c 0* . ■• ^, V, 

* « ~^sS^\\ll M. * ^ * 

tf o \0 v\ v ^ O. • 

*/ v*^V v-"- ^ 







4 O■ 

a? ^ * 

^ * -'rr, • ’ A *0 - *»;-o» 

* V C • O 

\ ** **' * % 

°. v«* ; 

* v ^ °y ^i* « 


V . vl^'* 'cv 




0 N 0 


.' '** 

^ **•’•’ y 

-> V . - 

<■ .* 

i*. W ; 

? * , v 1 V - 

< 0 ^ <5 A <b 

rP . *• ' « * ^*o V& o 0 " 0 * 

t _ - o .A ,-c^Vv-,^ tL, 

j. 

" ^6* 



Jp v*. 

> * ^ * 

O* pp <£* * *, 0 

,0 ^ • »’ 

jy a*°- ^ 

vP ^ ^ ^ 

^ z 'S*\ 

° cp'V 

,* <jV < 


* ^ ^ 



» 0 




4 O. 
*<' 


0 < o v\ 

* * ^ * 

°*.'*° T; ’'*° %'*••'•’jr .. °* * 

c\ *o * *•«>* *> V ,\1>L> A 

• r \V> A <■ (fCCggA « ^ 

>: 4 h| . ^•• < v ° 

P / ^ °0 ^ * - < 

<\ <v- ' A %. '■>.»* A 

P ** , 0 * , • . o, ^ 



o N 0 


y\S\ 

* ^ % 



0 M <5 „ 



C.-' */\. ° 

* V ^ 


O 'o „ . * .<\ 











































CuckxZs wvQ |-4 t 






THE 


PHOTO PLAY PLOT 


How To Write It 
How To Sell It 



A COMPLETE COURSE IN MOTION PICTURE 
PLAY WRITING WITH SELLING ADVICE AND 
AN UP-TO-DATE LIST OF BUYERS. 


UNITED PLAY BROKERAGE, Fostoria, Ohio, Publishers 



\e>9£ 

A 4 


Copyright 19!2, by Harrington Adams 
Index on page 36 


©CI.A328496 


WRITING THE 


PHOTO PLAY PLOT 


The writing- of the Photo Play Plot is in¬ 
teresting work as well as profitable. One 
must have a general education to be a success¬ 
ful writer, but fancy phrases or flowery lan¬ 
guage of any kind is out of place in the Photo 
Play Scenario. Knowledge of the correct 
form, diligence, and worthy ideas, constitute 
the equipment necessary for playwriting. 

At the present time more Picture Plays are 
being produced than there are stories used in 
all the magazines combined. There is an in¬ 
creasing demand for new original ideas and 
manufacturers pay well for the right kind. 

If you have ideas and are able to express 
them; if you are capable of study and concen¬ 
tration, and will follow these directions care¬ 
fully, you will no doubt be successful in dis¬ 
posing of your Plots. 


The Scenario Editors to whom you submit 
your completed play, will not bother to read 
a poorly prepared script. You must present 
your idea in a clear, comprehensive style and 
in correct scenario form. This calls for a cer¬ 
tain knowledge of technic, on the part of the 
writer, before his plays will be acceptable. 

Your plot or idea must be written in the 
form of a scenario, that is, divided into scenes. 
Each scene must contain the directions for the 
action which takes place and a description of 
the location. Be sure to display by the action 
of your characters the development of the plot 
that you wish to convey to the audience. Re¬ 
member the Picture Actors use no dialogue 
but have to show in pantomime the action of 
the play. Do not put conversation in your 
scenario. Keep your story continually before 
you as it would be if thrown on the screen. 
Carefully trace the action of your characters 
as you see it, this will be a great help to the 
producer and will increase your sales. Write 
your scenario in clear, concise phrases. Do 
not elaborate as it will be more difficult for 
the stage director to get a correct understand¬ 
ing of your scenes. Do not write, “Maude 

4 


tearfully watches her faithless lover mount his 
prancing steed and gallop off over the snow¬ 
capped mountains.” Simply outline the scene 
like this: “Bob mounts horse. Exit across 
mountain. Maude watching from window.” 

Do not devote your energies to stories of 
questionable moral tone. The cheaper class of 
companies sometimes buy such stuff, but they 
do not pay well for it. We have had too many 
murders, escaping convicts, bar-room fights, 
etc., in our picture theatres lately. The big 
producers (the ones that pay most for the 
plots), submit their pictures to a censor board 
that passes upon their virtue. The portrayal 
of the actual process of house-breaking or 
safe-blowing is not wanted. Murders and hor¬ 
rible deaths should not be used merely to rid 
the play of some extra characters. It is best 
never to use kidnapping, murder or other 
crime unless it results in a good moral lesson. 
In military or western plays arsonary and gun¬ 
play is of course allowable. 

CHOOSING THE IDEA. 

Try not to follow the beaten path too closely, 
although it is well to study the pictures that are 
being released by the different manufacturers 
and familiarize yourself with the kind of plots 
each of them use. Plays of a Western 

5 


nature are popular, but in writing them 
give the plot a new twist and inject 
some original incidents and situations. 
The Photo Play writer has a wonderful chance 
to do good, both by showing the spectator a 
brighter side of life and by educating him to a 
knowledge of the world, science and inven¬ 
tion. Present a lesson in your heavier themes 
and something bright and cheerful in your 
comedies that will make people think as well 
as laugh. Millions will see your play and pic¬ 
tures make a lasting impression on the most 
of them. The “rough” comedy should be con¬ 
demned as strenuously as the blood-curdling 
-tragedy. The patrons of the picture show 
gather primarily to be amused and entertained. 
A play in which mischevious boys kick the 
crutches out from under a cripple, does not 
appeal to many people as being especially hu¬ 
morous. 

There are plenty of themes to choose in 
writing the Photo Play. The scope of the Pic¬ 
ture Play is far greater than that of the 
theatre. Limitations that apply to the latter, 
such as scenes and settings, do not affect the 
production of the Picture Play which has the 
whole world for a stage. Historical and 

6 


Biblical plays are always acceptable if they are 
really good, although the beginner should not 
submit a large spectacular work unless he un¬ 
derstands pretty well the limitations of the 
company he is writing for. 

In Historical or Dramatical plots work in 
something of heart interest. Themes devoted 
to love, ambition, courage, friendship, sorrow, 
and other human emotions will always be 
used. Put your best efforts into everything 
you write as it always pays. In comedies 
have the action funny in each scene and do 'not 
depend entirely on a humorous climax. Lively 
action is generally more amusing that comical 
situations. 

It is well to note the methods of the success¬ 
ful playwriters in getting ideas for their plots. 
Some depend upon newspaper stories for in¬ 
spiration ; another writer gets his stories from 
books using the Bible a great deal; many dra¬ 
matists picture the experiences of their friends 
in the plays they write. Any of these sources 
are fruitful, the amateur writer must, however, 
develop an ear for news something like a re¬ 
porter, and be able to grasp a good subject 
when he comes in contact with it. 

7 


Write out your idea first in story form. In 
doing this you can give it the proper arrange¬ 
ment. Next take it down a scene at a time, 
putting plenty of action in each one. Tell in 
brief concise words the location, and the en¬ 
vironment, of each scene and the action which 
transpires. Show the characters entering in¬ 
to the scenes as much as possible as people like 
action in a film. Be sure to state by what 
means they enter and leave. If they walk in 
say so; if they arrive in a machine mention 
that fact. Example. 

Scene 6. Exterior of large residence. En¬ 
ter Dick on horse. Stops in front of residence, 
dismounts, hands reigns to boy, runs up steps. 
Door opens. Exit Dick into hallway. Door 
closes. 

IMPORTANT INFORMATION FOR THE 
SCENARIO WRITER. 

A scene should include only the action taken 
by the camera in one place without a stop. 
Whenever the location of the picture is 
changed a new scene is commenced. Inex¬ 
perienced writers are liable to show action 
transpiring in a scene that should be divided 
into two or more separate scenes. 

While you are writing, concentrate your 
mind upon the one thot of your plot. Do not 
deviate from your theme and write in scenes 
with no bearing on the play. 

8 


Leave the adaption of well known stories 
and legends, which .require spectacular scenic 
effects, to the producers. They know better 
their own abilities and their scenario writer 
can write such productions more fittingly. 

Trick films are not in demand at present. 

Do not spoil the effect of your play with im¬ 
possible situations. Get the scenes in regular 
order and have a reason for every action. If 
you heed this rule your play will run smooth 
and be true to life. Do not exaggerate, a 
really good story does not need stretching. 

Draw your characters true to life. The pic¬ 
ture actor has to be more human than his 
brother in the theatre. Hideous and ridicu¬ 
lous types are not used in the film. 

One reel of film constitutes about a thousand 
feet and requires twenty minutes or so to be 
run. Time your whole play to be shown in that 
time. Be careful that an unimportant scene 
does not take up too much of the film. Also 
avoid lengthy letters, notes and telegrams. 
Slow action tires the audience and gives less 
force to your strong scenes. 

9 


Any number up to twenty-five scenes may 
be used, but if you write your scenario in fif¬ 
teen or twenty scenes it is better. 

If the beginner would write only that kind 
of play which could be produced almost en¬ 
tirely inside of the studio, with interior set¬ 
tings he would find them much easier to sell. 

If your script calls for big scenes with many 
characters and expensive costuming, be sure 
that your story is worth all this preparation re¬ 
quired to produce it. 

If your play is not interesting as a story it 
would not be a good picture play if produced. 
Do not write the dry or sermon type of play. 

You will only waste postage if you send 
your plays to companies that do not produce 
that particular kind or would be unable to 
handle it. Watch the current films, see what 
the different companies are using. Read the 
magazines that publish the stories of the worth 
while plays, each month. This will give you a 
better understanding of the work done by the 
people you wish to write for. 

10 


Typewrite your manuscript on ordinary 
white bond paper, letter size Sy 2 xii inches. 
Do not use foolscap or any other unhandy size 
as it will mark your as a beginner. Double 
space your matter and make a carbon duplicate 
for reference in case your scenario is lost. 
Use care in the preparation as clear typewrit¬ 
ten scenarios on clean paper are attractive to 
the Editors. 

Never attempt to write a play in which you 
have to use characters or surroundings with 
which you are not familiar. Energetic writers 
in small towns of New Mexico sometimes at¬ 
tempt dramatic subjects dealing with the evil 
of the city theatres or high society life. Such 
plays are grotesque because of the twisted ideas 
of their author. Learn to write about the life 
you know. A little happening in your city 
may suggest a big story. Get all the informa¬ 
tion you can about any subject before you use 
it as part of the photo play, then your plot will 
not be inconsistent or unnatural. 

Work for the interest of the audience with 
the first scene, and introduce your characters 
in such a way that relationship will be under¬ 
stood at the first. Then hold the interest you 
have created to the very last. Do not let an 

11 


unimportant incident enter to spoil the thread 
of the play. Do not let it fall down so interest 
will lag near the end. Make the closing scene 
strong and end the story in a way that will 
please and satisfy the onlookers. 

Leave the arrangement of the stage to the 
director. By filling your scenario with count¬ 
less directions as to where the properties 
should be situated or just how Harry holds 
Maude’s hands as he kisses her good-bye, you 
will only make your script complicated and 
useless. Give clearly the action that transpires 
in each scene and depend on the producer hav¬ 
ing it performed right. Concerning the locale, 
there is no need of you describing implicitly 
a mountain scene near your home in Kentucky 
when the picture may be taken in York State. 
Simply write: 

“Scene 8. Thicket on mountain-side. 
Moonshiner discovered on guard. Etc.” 
Make your directions short and pithy. Be 
sure that they are clear and well worded. 

Reading matter thrown on the screen such 
as, “Dick Hurries to the City,” “The Next 
Day,” also letters, telegrams, notes are called 
“Leaders” or more properly “Inserts.” It is 

12 


well to use inserts only when absolutely nec¬ 
essary. Try to show most of your story by ac¬ 
tion. When leaders are used they should be 
short and of simple wording-. A surplus of 
inserts take up valuable film and they are con¬ 
fusing to many spectators. 

The scenario proper must be preceded by 
a short, well-worded synopsis. The stronger 
it is the better as it is a sort of advertisement 
for your plot and your scenario will be judged 
largely through the reading of the synopsis. 
Do not veil your meaning with quotations and 
indefinite statements or words. The reader 
will not be favorably impressed by complicated 
phrasing. Write the synopsis so clearly that 
the editor can understand your plot from the 
beginning. It is easier, generally, to draft the 
scenes and after they are properly arranged, 
write the synopsis. 

The beginner should not allow himself to 
become discouraged by the rules of technique. 
When you once commence to write you will 
find that the correct way is the easiest form in 
which you could put down a plot. Choose 
the material for your first play carefully. 
Notice the completed scenario given and prac¬ 
tice on the unfinished play on page twenty- 
three. 


13 


Name. 


Address. 


THE RETURN OF HERBERT WRIGHT. 


Herbert Wright, a young real estate clerk, has 
sick mother; doctor says she must go South to 
live; because of straitened circumstances, he is 
unable to see his way to follow doctor’s instruc¬ 
tions. Detained at home, caring for his mother, 
he is late at office and is discharged. As he 
leaves he is handed letter which proves to be a 
notice from an insurance company that his prem¬ 
ium is due. While worrying over this expense 
he conceives the idea of disappearing, with cir¬ 
cumstances indicating accidental drowning. He 
carries out the idea, thinking to pay the money 
back when able, this being the only way to save 
his mother’s life. His mother gets the insurance 
and joins him in the South. Some time later, 
upon the very day he has succeeded in raising 
the money to return to the insurance company, 
it happens that the president of the insurance 
company is attacked by footpads in front of 
Wright’s home and is cared for by Wright and 
his mother. A detective from the insurance com¬ 
pany arrives, having traced Wright to this point. 
The fact that Wright was about to return the 
money, coupled with gratitude for the assistance 
given him, wins the president’s forgiveness. 

A few months later, Wright is offered a posi¬ 
tion with the insurance company, and after a de¬ 
served promotion he wins the daughter of the 
man who had saved him from disgrace. 

14 





Name 


Submitted at usual rates. 


Address. 

THE RETURN OF HERBERT WRIGHT. 

Cast of Characters. 


Herbert Wright.A Young Real Estate Clerk 

Mrs. Wright, .His Mother 

Curmudgeon .His Employer 

F. W. Kemp.Pres, of the Republic Ins. Co. 

Helen, .Kemp’s Daughter 


Old Family Doctor, Southern Doctor, Lady Sten¬ 
ographer, Detective, etc. 

Locale—Northern interiors 4, Northern exter¬ 
iors 1, Southern interiors 1, Southern exteriors 3. 

The Sick Mother. 

1— Modest sitting room; Mrs. Wright in arm 

chair, sick; enter Herbert with old family 
doctor following; overcoats and caps cov¬ 
ered with snow; doctor examines woman; 
evidently serious; leaves medicines and 
writes prescription ;as he is leaving, mo¬ 
tions Herbert, unseen by mother, to follow 
him to hall; exeunt doctor and Herbert to 
other room. 

Mother Must Go South. 

2— Hall; enter doctor and Herbert; Doctor in¬ 

dicates that her lungs are affected and that 
she must be taken to a warmer climate to 
save her life. Herbert shows his near 
empty bill book and shakes his head sadly; 
Doctor looks grave; as he goes, Herbert of¬ 
fers him his fee and the old man refuses it. 
As door is opened, snow blows in. Exit 
doctor. Exit Wright to room. 

15 









Herbert Discharged. 

3—Real Estate office. Curmudgeon at desk; 
stenographer working at typewriter; Her- 
bet’s desk unoccupied; clock at 9:15. Cur¬ 
mudgeon turns and looks at empty desk; 
points to clock and addressed girl; she 
shakes her head; enter Herbert; Curmud¬ 
geon points to clock and is evidenly angry; 
Herbert starts to explain, but Curmudgeon 
refuses to listen; calls girl to bring money, 
and pays him his wages; takes a few things 
from his desk and exit Herbert; as he goes 
out girl hands him a letter. 

A —Same as 1. Mother asleep in chair; enter 
Herbert without awaking her; sits down 
and takes letter from pocket; opens, reads. 
Letter shown on screen. 

REPUBLIC INSURANCE COMPANY 

New York, Jan. 12, 19.... 
NOTICE—This is to notify you that the 
premium on your policy No. 712,314, 
amounting to $36.00 is due and payable 
within thirty days. 

R. C. SPENCER, Secretary. 

Herbert appears dumbfounded; then looks 
again at notice, starts, looks at sleeping 
woman, evidenly makes decision; exit up¬ 
stairs. 

5—Attic room. Enter Herbert; drags old trunk 
out and opens it; takes out long black 
coat and black slouch hat, puts them on; 
also another overcoat; wraps clothes he 
took off in bundle; exit. 

16 


6— Same as 4. Mother still sleeping; Herbert 

enters from stairway steathily; takes moth¬ 
er’s pocketbook from drawer and counts 
money; then takes money from his pocket 
and adds to his mother’s; kisses mother 
gently on forehead and takes up bundle; 
exit slowly. 

Herbert’s Clothes Are Found. 

7— Bridge over river. Herbert enters picture 

hurriedly. Deposits hat and coats that he 
has in bundle on bridge near railing. Runs 
out of picture; two men enter and discover 
the clothes; examine them and find card. 
Card thrown on screen. 


HERBERT WRIGHT 

Representing 
Curmudgeon & Co. 


Men indicate that he has leaped to the river 
below. Look over railing, shake heads, 
point up the street. Hurry out of picture. 

8— Same as 6. Mother goes to door to answer 

rap. Two men enter with Herbert’s over¬ 
coat, coat and hat; take card from pocket 
to show mother; point as if to river; 
mother faints, and is helped to chair. 

Mother Gets Insurance. 

9— Same as 8. Mother in black; goes to door to 

answer rap; enter two men representing 
insurance company; ask for policy; she 
gets it from drawer; they examine it and 
indicate that it is all right; give her draft 
and she signs receipt on policy; show on 
screen: 


17 



REPUBLIC INSURANCE COMPANY. 

New York, Jan. 23, 1912. 

PAY TO THE ORDER OF. Mrs. 

Mary Wright, .TWO THOUS¬ 
AND ..DOLLARS.and 

charge our account. 

REPUBLIC INSURANCE COMPANY. 

By F. W. Kemp, President. 
To THE NATIONAL CITY BANK, 

New York. 

Exit men; enter boy with registered letter for 
Mrs. Wright; she signs book, opens letter 
and starts; consternation, succeeded by 
joy; letter on screen: 


Cadiz, Tex. 

Dear Mother:—All a mistake; come here 
soon as insurance is paid; will pay it back 
in a few weeks. Tell nobody at present. 
With love, HERBERT. 

Mother takes off glasses; goes to window; 
holds out her arms toward the South and 
nods her head, smilingly. 

Company Suspects Herbert Is Not Dead. 

10—President’s office, Republic Insurance Com¬ 
pany. Kemp dictating to stenographer. En¬ 
ter messenger boy with telegram; Kemp 
opens it; show on screen: 

POSTAL TELEGRAPH COMPANY. 
(Telegraph Form) 

Suspicions in Wright case; send detective. 

G. W. JOHNSON, Gen. Agt. 

18 






Exit messenger; Kemp pushes button; de¬ 
tective with badge enters; Kemp gives him 
telegram and directions; detective exit, af¬ 
ter saluting. 

Later—President and Daughter Take Southern 
Trip. 

11— Luxurious home of Kemp; Helen looking 

over tourist guides; hears father coming; 
runs to door and meets him; he looks tired 
and played out; she hugs him; leads him 
to easy chair; goes gets tourist guides and 
points to picture and maps, coaxing him to 
take a rest and a southern trip; he demurs, 
but finally gives in; she kisses him; butler 
comes to door and announces dinner; ex¬ 
eunt. 

Month Later—New Arrivals in Cadiz. 

12— Railway station; small town in south; train 

arrives; Kemp and Helen alight from Pull¬ 
man; Kemp looks for carriage; none there, 
inquires of tough looking by-standers, 
who points direction; exeunt Kemps followed 
by men, who evidently intend to rob the 
Kemps. 

13— Exterior of Southern cottage; door opens and 

Mrs. Wright comes out on porch; looks 
well and happy; Herbert comes off street 
on to porch; well-dressed and prosperous; 
greets mother and links arms; exuent into 
house. 


Returning the Insurance. 

14—Interior of same cottage; Herbert and mother 
enter; Herbert pulls letter from pocket to 
show mother he is ready to return the 

19 


money to the insurance company: 

REPUBLIC INSURANCE COMPANY, 
New York. 

Enclosed is draft for $2,000 with interest, 
being the insurance money paid my mother 
in error. 

HERBERT WRIGHT. 

Herbert encloses draft and seals letter; they 
evidently hear scream; look towards street. 
Exeunt Herbert and mother hurriedly. 

15— Walk in front of cottage; Kemp struggling 

up from walk; Helen screaming; Herbert 
runs from cottage, followed by mother; 
robbers frightened, run away; Herbert 
picks up Kemp and helps him walk to cot¬ 
tage; all go into house. 

16— Same as 14. Enter Herbert supporting Kemp, 

followed by mother and Helen; while wo¬ 
men attend Kemp, Herbert goes for doctor 
and returns with one immediately; doctor 
examines Kemp’s head and indicates that 
there is no serious injury; suggests sleep; 
exit doctor; Kemp lays back in chair as if 
to go to sleep. 

Next Day. 

17— Garden rear of cottage; flowers, walk and 

rustic bench. Herbert and Helen walk in 
from around cottage; talk and laugh gaily; 
Helen has him reach her a flower, which 
she pins on her dress; then another, and 
pins on his lapel; then walk to bench and 
sit closely together in earnest conversation; 
Mrs. Wright appears from house; sees oth¬ 
ers without being seen; beckons to fourth 

20 


person, and Kemp comes to her side and 
watches young people; smiles, then shakes 
his head as if in doubt of the wisdom of the 
new association; young people look up to 
see they are watched, and break apart 
rather embarrassed, then follow parents in¬ 
to house. 

The Detective Finds Wright. 

18— Same as 16. Kemps preparing to leave the 

cottage; Mr. Kemp with two bags by his 
side, shaking hands with Mrs. Wright; 
Helen bidding Herbert a too fond good¬ 
bye at other side of room; Herbert holding 
both her hands; Kemp calls to Helen to 
come, but she hangs on; Mrs. Wright hears 
doorbell; goes to door; the detective en¬ 
ters; recognizes Kemp and both are 
startled; detective speaks to Herbert and he 
steps over; detective lays hand on his 
shoulder and Herbert understands without 
the attention of others being attracted; 
shows distress; Mrs. Wright and Helen 
walk out on porch; Kemp questions Her¬ 
bert, while detective stands aside; Herbert 
explains that he is returning the insurance 
money and shows letter and draft ready to 
be mailed; looks at draft, shakes Herbert’s 
hand heartily and explains to detective, who 
shakes hands with both. Exit detecti’"\ 
Kemp puts his hand on Herbert’s should r 
and bids him farewell, just as women 
ter; takes up bags exeunt Kemp and Hekn 
followed by Herbert and his mother. 

Month Later; Good News. 

19— Same as 18. Mrs. Wright sitting in rc^ker 

sewing and happy; enter Herbert from 
street hurriedly and excited; grabs mother 

21 


and lifts her from chair; executes 
dance around her and acts like a pleased 
child; has open letter in his hand and 
shows it to her. Letter on screen: 

REPUBLIC INSURANCE COMPANY. 

New York, Jan. 30, 19. 

Mr. Herbert Wright, 

Cadiz, Tex. 

Dear Sir: 

We can offer you position at $3,000 per 
year; wire acceptance. 

Yours truly, 

F. W. KEMP, Pres. 

Takes mother by arm and exit slowly into 
garden, talking. 

Six Months Later. 

20—Same as 10. Kemp seated at desk; pushes 
button; Herbert comes in; Kemp offers 
him promotion, pointing to a vacant desk 
near his own; Herbert accepts thankfully 
by clasping Mr. Kemp’s hand; Door opens 
and Helen rushes in, kisses Kemp; Kemp 
points to Herbert seated at the new desk 
and tells her of the promotion; she goes 
over and congratulates Herbert and pulls 
him to his feet, urging him toward Kemp; 
Herbert takes her hand and asks Kemp a 
question; he hesitates, laughs and acqui- 
eses; she kisses Kemp, then Herbert, and 
it is settled. 


The End. 

22 



Enlarge on the following scenario,carry out 
the plot contained in the synopsis, and supply 
the missing scenes. 

SYNOPSIS. 

The Mysterious Closet. 

John and Mary, living in a small town, are 
recipitants of a telegram which informs them 
that their Uncle James will visit their home. The 
uncle promises to leave his property to the rela¬ 
tive that is the best housekeeper. 

John and Mary realize that a good impression 
must be made, and begin at once to clean up 
their untidy house. While John smears the floor 
and himself with water Mary telephones the 
neighbors and asks for help. Soon a stream of 
friends, bringing dishes, rugs and other house¬ 
hold goods arrive. The dirty table cloth, torn 
rugs and unwashed dishes are piled up into an 
already crowded closet. Old shoes and clothes 
found scattered around the house are crammed 
in the closet and the door forced shut. Neigh¬ 
bors helping to arrange the borrowed house¬ 
hold goods. 

Uncle James, upon his arrival, is delighted 
with the home and his relatives. That night in 
his room he makes John and Mary his heirs. In 
the morning curiosity prompts uncle James to 
look into the closet that opens from his room. 
Out falls the contents, nearly burying him. Uncle 
James grabs coat, hat and bag, sneaks out of 
the home and walks to depot, only stopping long 
enough to tear up the will he had made the night 
before. 


23 


The Mysterious Closet 
Cast of Characters 

John Long and wife Mary. Shiftless in their home life. 
Uncle James. Cranky and wealthy. 

Neighbors. 

Scene 1. Interior of home—kitchen. John and Mary 
eating breakfast. Evidently hear knocking on door. 
John leaves table upsetting plate of cakes onto floor. 
Mary picks them up and replaces them on table. John 
opens door, signs for message, reads and hands to Mary. 

Message shown on screen: 

John Long, 

Am coming today to visit you. Will leave money 
to relative who is best housekeeper. 

Uncle James 

Same. John and Mary talk excitedly, look about dirty 
kitchen. Mary folds the breakfast dishes up in table 
cloth and deposits in corner. John takes pan of 
water from stove and begins to scrub floor. Burns 
himself and spills most of the water. Exit Mary. 

MARY ASKS HELP OF NEIGHBORS 
Scene 2. Living room. Mary enters hurridly, talks to 
a number of parties over phone. Exit Mary. 

Tlry writing this plot in about eighteen 
scenes. After this practice begin on an original 
plot. Learn by getting into the real work. 
The Motion Picture business is growing fast 
and there will never be a better time to begin 

24 


writing plays than today. The manufacturers 
are far more willing to buy a scenario from 
your hand than you are to sell it. Thirty or 
more companies in America are turning out 
new films every week and there is a big market 
for the right kind of a play. 

Most of the producers release a “split reel” 
occasionally, that is, two complete plays on one 
reel of film. The plot for a split reel should 
not require more than ten minutes to run. 
Some stories, especially comedies, can be 
shown in that length of time without losing 
any of their force. Then too, there is the mar¬ 
ket for “feature” plots, serious plays which 
require from two to five reels to reproduce. 
You, as a writer, must judge what length 
your particular story must be. The standard, 
of course, is the full one reel play requiring 
twenty minutes to run. 

As you write a play prepare a good title for 
the work. A title which is suggestive of the 
plot is best, and will help make a good im¬ 
pression on the Editor. 

Children, dogs and cats are troublesome 
subjects to photograph and plots requiring ac¬ 
tors of this sort are hard to sell. 

PHOTO PLAY DEFINITIONS. 

CAMERA—The machine with which the 
pitcures are taken. 

CHARACTERS OR PLAYERS—The 

25 


people who take acting- parts in the production. 

CLIMAX—The big scene of the play. 

COMEDY—A play written to please and 
amuse. 

DRAMA—A play devised to make the audi¬ 
ence think. Should contain “heart-interest.” 

EDITOR, SCENARIO EDITOR, PLAY 
READER—The person who reads and passes 
judgment upon the scripts submitted to the 
manufacturer. 

EXIT—Third person, singular of EXIRE. 
Means “He (or she) goes out.” 

EXEUNT—Third person plural of EXIRE. 
Meaning, “They go out or retire.” 

FILM—A celluloid strip upon which the 
pictures are recorded. 

INSERT—Writing thrown on the Screen 
to make the story clear. 

LEADER—A title or sub-title inserted be¬ 
tween scenes. 

LOCALE—French word meaning the place 
of action. 

PANTOMIME—Acting without speech. 

PLOT—The theme of the story to be put 
into picture form. 

PRODUCER—The man or group of men 
who stage the performance. 

PROPERTIES—All stage equipment ex¬ 
cepting the scenery. 


26 


SCENE—The action taking place in a cer¬ 
tain locality without a stop. 

SCENARIO—The completed story in cor¬ 
rect picture form. 

SCREEN—The surface upon which the 
picture play is shown. 

SCRIPT—Name usually applied to a type¬ 
written scenario. 

STAGE—All that is contained within the 
range of the camera. 

STAGE DIRECTOR 1 —One who arranges 
and rehearses the play. 

STUDIO—Place where the pictures are 
taken with the use of scenery. 

SYNOPSIS—A short, well-worded outline 
of the story. 

THEME—The idea of the plot. 

TITLE—A short, well-chosen name for the 
plav. Simple words should be used in the 
TITLE and SUB-TITLES. 

TRAGEDY—A deep DRAMA of sadness. 
(A good kind to avoid.) 

HOW TO SELL THE PHOTO PLAY PLOT. 

Many disappointments can be avoided if the 
author of a plot will carefully review his work 
after a few days of intermission. Mistakes 
that are overlooked in writing will appear in 
this after reading. You should want to put 
your best effort into each script and eliminate 
all errors in story and form. It pays to take 

27 


plenty of time in preparation of your play, but 
do not stop when you have finished the first. 
It may be four weeks before you hear from the 
manufacturers, so keep on writing- and soon 
you will have ten or twenty plots on the market 
and your chances for sales will be greatly in¬ 
creased. Many writers who have ideas but are 
not sure of their theme arrangement or tech¬ 
nical form, save time by submitting their man¬ 
uscripts to capable critics before the final type¬ 
writing is done. A critic who understands his 
business can point out mistakes and help you 
in the development of your plot. A Scenario 
Editor has no time to write out the faults of 
your play, he will simply return it. A friend 
to whom you may read the play can hardly be 
of any assistance as he may not understand 
the work or have any interest in it. 

One of the first rules in selling is to type¬ 
write your scenario before you send it to the 
producers. It is true that some Editors will 
read a long-hand play, but not many will 
bother to decipher a poorly prepared manu¬ 
script. 

Some writers mark the value of their work 
and ask a certain price for it. This practice is 
a hindrance in a way, because in some in¬ 
stances the plot is refused on account of the 
price alone. You are safe in writing “Submit¬ 
ted at usual rates,” on the first page of your 

28 


scenario. The manufacturers will pay all it is 
worth, for if your work is good they will want 
more of your product. Some producers pay 
better than others, but will not accept plays of 
an ordinary kind. Any of the companies listed 
herein will pay well for scripts adapted to their 
needs. The minimum price for a one reel play 
is usually twenty-five dollars, some pay more 
and really good plays always command a 
higher price. 

In mailing your scenario it is not necessary 
to write a letter to the Editor. Simply put your 
name and address on the synopsis sheet and 
on the first and last pages of the scenario 
proper. Do not fold the script more than 
twice, then mail in a legal size envelope. Al¬ 
ways enclose a self-addressed and stamped 
envelope for return. It is easy to procure en¬ 
velopes of two sizes so the return will fit into 
the larger envelope without folding. Some 
writers fold their script only once and use 8>4 
x6-inch envelopes. This delivers the play in 
neater condition. Address your script to the 
Scenario Editor. Be sure to prepay the exact 
postage. 

Do not offer a play to more than one pro¬ 
ducer at a time. If you do it will lead to com¬ 
plications. Keep a card index of your 
business. Enter the name of the plot, the date 
it was sent to each producer, when returned 

29 


or when sold. Keep your plays on the jump, 
but be sure you know where each one is. It 
generally requires from two to four weeks for 
a Film Manufacturer to pass upon your work. 
Do not write hurry-up letters or you will make 
yourself unpopular with that particular com¬ 
pany. The most successful writers do not 
wait to hear from the plays that are out, but 
keep up the writing end of the business, so 
when the checks do begin to come in they 
come fast. By continual work you get good 
practice too, and your plays will bring higher 
prices as your understanding of the business 
increases. 

Do not become discouraged if your plays 
are rejected by some producers. All writers 
meet with this same thing. 

Do not use fasteners on your script that 
pierce the paper. Editors separate the sheets 
when they read and your paper may be¬ 
come torn and unfit to send to another com¬ 
pany in case it is returned. 

Write on one side only of your paper. Do 
not roll your script. 

The more plays you sell the quicker you will 
discover that the main selling point of the 
scenario is the idea it contains. After you have 
prepared a number of plots the technique of 
the scenario will be simple. The one thing 
hard for some to learn is how to secure the 


30 


ideas. Study the different methods outlined 
in the first part of this book, then practice 
them. Try to gather at least one idea a day 
worthy of production and make a note of it 
for future work. 

GETTING THE BEST PRICE. 

It has been said that the average author is a 
poor business man, but that is hardly the case 
with scenario writers, many of whom are busi¬ 
ness men and a large per cent of them are not 
'‘literary” in the common accepted sense of the 
word. 

However, in the motion picture business 
there are changes taking place continually with 
which a person not directly connected with the 
.business would hardly be familiar. Three or 
four big factions in the producing end are 
fighting for supremacy while the individual 
companies try hard to outdo each other. Con¬ 
sequently there are changes in the wants of the 
producers. The UNITED PLAY BROKER¬ 
AGE, of Eostoria, Ohio, make it their business 
to keep track of these changes and know where 
and when to submit a script. We charge a 
small percentage for this work as listed on the 
following page. We sell only scripts prepared 
according to the directions contained in this 
book. 

If you do not feel that your play is in correct 

31 


form or if you believe that advice and criticism 
on your theme would help you, send your play 
to us. The charge for criticism is $i for each 
play. We will not only tell you what is wrong, 
but will suggest a remedy. We criticise plots 
in manuscript so they can be revised as we 
suggest before they are typewritten. In case 
you wish your play criticised and revised, that 
is, rewritten in proper form, we charge $ 2 . If 
the play in our opinion is not worth revision 
the fee will be returned. In either case the 
fee must be enclosed with the play. 

For selling a play our charge is ten per cent 
of the sum received. We get the best prices 
because we know what is demanded by each 
producer. All plays submitted to us for sale 
must be typewritten and all scripts sent us for 
criticism, revision or selling must be accom¬ 
panied by a return envelope, stamped and ad¬ 
dressed. 

Do not send us plays with worked over ideas 
taken from other plays. Bear in mind also 
that it is unlawful to write a play using the 
story of a copyrighted work. 

UNITED PLAY BROKERAGE, 
Fostoria, Ohio. 

LIST OF BUYERS. 

The following list of manufacturers, to¬ 
gether with their wants, will be found of great 
value to the author of scenarios: 

32 


AMERICAN FILM CO., Ashland Bldg, 
Chicago, Ill.—Want society plays, comedies 
and dramas. Western scripts calling for the 
modern cowboy type wanted at La Mesa, 
Cal. 

AMMEX MOTION PICTURE CO, Nation¬ 
al City, Cal.—Western, Spanish and Mexi¬ 
can plays. 

BIOGRAPH CO, ii E. 14 th St, New York- 
Strong dramas and comedies. Western sub¬ 
jects at Pico and Georgia St, Los Angeles, 
Cal. 

BISON CO, Address Richard V. Spencer, 
Editor, 1712 Allesandro St, Edendale, Cal. 
Need Indian, Military, Civil War, Trapper, 
Bandit and other Western plots, excepting 
Cowboy, Western comedies and Mexican. 
Also split reel comedies (not Western). 

BELMAR M. P. CO, 1451 Broadway, New 
York, N. Y.—Emotional Dramas. 

DIAMOND FILM CO, 68 Fifth St, Wood- 
side, L. I.—Dramas and Comedies. 

ESSANAY FILM CO, 1315 Argyle St, Chi¬ 
cago, Ill. Address Norman McDonald, 
Scenario Editor. Simple unique plots and 
bright Comedies. 


33 


EDISON CO., 2826 Decatur Ave., Bedford 
Park, New York City—Unique Comedies 
and Dramas. 

LUBIN MFG. CO., 29 th St. and Indiana Ave., 
Philadelphia—Bright Comedies and Dramas, 
also Western and Mexican. 

MAJESTIC M. P. CO., 540 W. 21 st St., New 
York, N. Y.—Clever Comedies and strong 
Dramas. 

SOLAX COMPANY, Flushing, N. Y.—High 
class Comedies and spectacular Dramas. 

THE UNIVERSAL FILM MFG. CO M I 
Union Square, New York City-Pass upon all 
scenarios used by the following companies. 
Want high class Comedies and Dramas. 

CHAMPION FILM MFG. CO., 12 E. 15 th 
St., New York .City. 

ECLAIR FILM CO., Linwood Ave., Fort 
Lee, N. J. 

GEM. M. P. CO .,573 nth Ave., New York 
City. 

IMP FILMS CO., 102 W. 101 st St., New 
York City. 

NESTER CO., Sunset Blvd. and Gower, 
Hollywood, Cal. 


34 


POWERS M. P. CO., 416 W. 216th St., 
New York City. 

REX. M. P. MFC. CO., 573 nth Ave., New 
York City. 

VICTOR FILM CO., 573 W. 23rd St., New 
York City. 

THE KALEM CO., 235 W. 23rd St., New 
York City—Human interest Dramas of busi¬ 
ness life, also Historical, Western and Mex¬ 
ican plays. 

THE KINEMACOLOR CO. OF AMER¬ 
ICA, 145 W. 45th St., New York City- 
High class Comedies and Dramas. 

THE GREAT EASTERN FILM MFG. CO., 
218 Tremont St., Boston, Mass.—High class 
society Dramas. 

VITAGRAPH CO. OF AMERICA, Locust 
Ave., Brooklyn, N. Y.—Any type of play 
acceptable if unusually interesting. 

UNITED PLAY BROKERAGE, Fostoria, 
Ohio—Sell typewritten scenarios of correct 
form on commission. See page 3 1 * 

Do not send scripts without enclosing a 
stamped, self-addressed envelope. Be sure to 
prepay all postage on the scenarios you sub¬ 
mit. 


35 


INDEX. 


Page 

HOW TO WRITE THE PHOTO PLAY 


PLOT. 3 

CHOOSING THE IDEA. 5 

INFORMATION FOR THE SCENARIO 
WRITER. 8 


A COMPLETE SAMPLE SCENARIO.... 14 


PRACTICE WORK.......23 


PHOTO PLAY DEFINITIONS.25 


HOW TO SELL THE PHOTO PLAY 
PLOT...27 


GETTING THE BEST PRICE FOR 
YOUR WORK .31 


COMPLETE LIST OF BUYERS AND 
THEIR NEEDS .32 

558 


36 

























♦ ^ 
4 OS' 



* ^ 


•3 


' * « 

* . -#■ 

- ^ 0 « : 

°” ** °-* '^WI&; »°' 7 * i . *„ 

■°°‘ x^.. %.**"■’• , ^°° .. 



V f 1 *> cv A o V 



• A^ * 

, o' 9 
<V-*> 

A ° 

* <£/ ^ O 





® r 3'/'» -< 

* ^ 
• & + -0L V r£* * 

<* '•. *« *G V V * 

«, t 1 a n -<£^ ^ o N o „ *^q 


c * 

• '^- o^ • 


r -7 ^ «5 °^. ■ 

Ai. ^^Uavv^ h N/ _ * 

■* r\ J &• •> A ^SS~ s ~, • <X r C\ . . 

' ' 1 <$\. * » « ° ' CX **,-»* A' 

.0 *l^Lr* > v V <o v « 

A^ ^ ^ 4 /?^. "* .-Ci. A. * - ^ 5) .• *■ . 










o • K 


a 


/ . 

• <y * 


•^o« 






' • « s 


, V > 6 *”<£> 

% *cw. * 

^OK .'4*^ 

<,5 o* * * <0^, • 

O *^6/J.r^ x * o ■*•■ * 

O. ‘'Tv.* ^o 


I * o 



'«**_ *" 1 .f" «0- *' 


v ’** > 9 ^ L " % ^ 

^ cy ♦ < 

° < To < 3 o 

/\ • 

S* *<\ ^ * /V» V*- 



o o * 


p aH* -W%i’ *%- 





</. 

> 0 * ° 

,° v °*<- 

* • - • ** y r V ‘ *~^* ’ * 0 V ** 

V * y * °* o A Sy *»••*„ ’ 

* ^ <;. a*^ * <» 

%<* A v * (K\W/V° ^ . 

>§y$Mh\ '^V > - 

..»■;* jf\ ^Sp/ 

.. . C- ~o jv c 0 ' 

v* jy° v ^ > V, 

*% rs' 7 e * • , , \ v „ ^ *2 

.I* Ay . *-L..<rW* ^ V * 

^ Sy *s 




.* *« °* 


‘b. 




c • 

■*o* ' 

^ $ ' r + 

-%"v \ 

■ '•!••■' A? .••-*<■■ 

^ .■?- +A ' 






































































